In 1876, formerU.S. Army Captain Nathan Algren, analcoholic traumatized by his actions during theAmerican Indian Wars, is approached by his former commanding officer, Colonel Bagley. Bagley asks him to train the newly createdImperial Japanese Army for a Japanese businessman, Matsue Omura, who intends to use the army to suppressa samurai rebellion against Japan's new emperor. Despite his hatred of Bagley, Algren takes the job for the money. His old friend,Sergeant Zebulon Gant, accompanies him. Upon arriving, Algren meets Simon Graham, a British translator knowledgeable about the samurai.
Algren struggles to train the poorly disciplined Imperialconscripts. Omura and Bagley arrive with word of an attack by the rebels on one of Omura'srailroads. Against his wishes, Algren is forced to lead a counterattack. His fears are proven true when the conscripts flee in terror and are easily routed by the samurai, while Gant is killed. Algren is wounded, and he is taken prisoner when samurai leader Moritsugu Katsumoto spares him. Imperial General Hasegawa, a former samurai who once served with Katsumoto, is allowed to commitseppuku.
Algren is taken to Katsumoto's village and, at Katsumoto's request, is taken in and tended to by Taka, Katsumoto's sister, who Algren later realizes is the widow of a samurai he killed before being taken prisoner. While initially poorly treated, he eventually gains the samurai's respect. With Taka's help, Algren overcomes his alcoholism and guilt, learns the Japanese culture, and is trained in the art ofkenjutsu. He develops sympathy for the samurai, who are upset that modernization has eroded their political power. Algren and Taka develop an unspoken affection for each other.
One night,ninjas infiltrate the village and ambush Katsumoto. Algren saves Katsumoto's life and then helps defend the village, concluding that Omura is responsible. Katsumoto requests a meeting withEmperor Meiji inTokyo. He brings Algren, intending to release him. Upon arriving, Algren observes how the Imperial Army is now fully trained and equipped. Katsumoto, to his dismay, discovers that the young and inexperienced emperor is a puppet of Omura. At a government meeting, Omura orders Katsumoto's arrest forcarrying a sword in public and offers him eitherseppuku or the humiliation of a trial.
A disgusted Algren resigns his post in the Army. After defeating Imperial agents sent by Omura to assassinate him, Algren enlists Graham and Katsumoto's men to free their leader. During the rescue, Katsumoto's wounded son Nobutada sacrifices himself to allow the others to escape.
As the Imperial Army marches to crush the rebellion, a grieving Katsumoto contemplatesseppuku, but Algren convinces him to fight and pledges to join the samurai in battle. Taka dresses Algren in her late husband'ssamurai armor, and Katsumoto presents him with a newly forgedsamurai sword engraved with an inscription dubbing Algren "the warrior in which the old ways have joined the new."
On the battlefield, Algren and Katsumoto meet with Omura and Bagley forparley; Katsumoto refuses to surrender. The samurai use the Imperial Army's overconfidence to lure them into a trap; the ensuing battle inflicts massive casualties on both sides. With their numbers dwindling and imminent imperial reinforcements arriving, Katsumoto orders asuicidalcavalry charge on horseback. Bagley is slain by Algren, but the samurai are quickly mowed down byGatling guns. Deeply touched and filled with remorse by the slaughter, the Imperial captain (previously trained by Algren) tearfully orders to cease fire. Katsumoto, mortally wounded, commitsseppuku with Algren's help as thesoldiers kneel in respect.
Later, as trade negotiations conclude, the injured Algren interrupts the proceedings. He presents the emperor with Katsumoto's sword and asks him to remember the traditions for which Katsumoto and his fellow samurai fought and died. The emperor realizes that while Japan should modernize, it can't forget its own culture and history. He rejects the trade offer, and when Omura protests, the emperor silences him with a threat to seize his assets. The emperor asks Algren how Katsumoto died, to which Algren responds that he will instead tell the emperor how he lived. Algren returns to the village to reunite with Taka.
Ken Watanabe as the reactionary Lord Moritsugu Katsumoto, the eponymous "Last Samurai," a formerdaimyo who was once Emperor Meiji's most trusted teacher. His displeasure with the influence of Omura and other Western reformers on the Emperor lead him to organize his fellow samurai in a revolt, which he hopes will convince the government not to destroy the samurai's place and power in Japanese society. Katsumoto is based on real-life samuraiSaigō Takamori, who led the Satsuma Rebellion. Takamori, however, supported modernizing Japan in general and used firearms, unlike the far more reactionary Katsumoto.
Koyuki as Taka Katsumoto, widow of a samurai slain by Nathan Algren and younger sister of Moritsugu. She and Algren develop feelings for each other, and she gives him her husband's armor to wear in the final battle of the rebellion.
Timothy Spall as Simon Graham, a British photographer and scholar hired as an interpreter for Captain Algren and his non-English speaking soldiers. Initially portrayed as a friendly yet mission-oriented and practical-minded companion, he later comes to sympathize with the samurai cause and helps Algren rescue Katsumoto from Imperial soldiers. Graham is loosely based on real-life British JapanologistErnest Mason Satow, who befriended Saigō Takamori during the Satsuma rebellion.
Shin Koyamada as Nobutada Katsumoto, Katsumoto's only son and lord of the village where Algren is sent. Nobutada befriends Algren when Katsumoto assigns him to teach Algren Japanese culture and the Japanese language. He dies when he willingly chooses to distract Imperial troops so his father can escape their custody.
Tony Goldwyn as Colonel Bagley, Nathan Algren's former commanding officer in the7th Cavalry Regiment. Ruthless and amoral, Bagley convinces Algren to serve as a training instructor for the Imperial Army despite Algren's hatred of Bagley for his role in theWashita River massacre. In contrast to Algren, Bagley is arrogant and dismissive of the samurai, at one point referring to them as nothing more than "savages with bows and arrows". He is killed by Algren who throws a sword into his chest when Bagley tries to shoot Katsumoto in the final battle.
Masato Harada as Matsue Omura, an industrialist and pro-reform politician. He quickly importsWesternization andmodernization while making money for himself through his ownership of Japan's railroads. Coming from a merchant family, a social class repressed during the days of Shogun rule, Omura openly expresses his contempt for the samurai and takes advantage of Emperor Meiji's youth to become his chief advisor, persuading him to form a Western-style army for the sole purpose of wiping out Katsumoto and his rebels while ignoring their grievances. His appearance is designed to evoke the image ofŌkubo Toshimichi, a leading reformer during theMeiji Restoration. Harada noted that he was deeply interested in joining the film after witnessing the construction of Emperor Meiji's conference room onsound stage 19 (whereHumphrey Bogart had once acted) at Warner Brothers studios.[citation needed] Omura is shown to be an intelligent businessman and favors social mobility and greater political equality in Japan. He, however, is shown to be relatively naive on military matters.
Shichinosuke Nakamura asEmperor Meiji. Credited with the implementation of the Meiji reforms to Japanese society, the Emperor is eager to import Western ideas and practices to modernize and empower Japan to become a strong nation. However, his inexperience causes him to rely heavily on the advice of men like Omura, who have their own agendas. His appearance bears a strong resemblance to Emperor Meiji during the 1860s (when his authority as Emperor was not yet firmly established) rather than during the 1870s, when the film takes place.
Hiroyuki Sanada as Ujio, a master swordsman and one of Katsumoto's most trusted followers. Initially showing the most disdain towards Algren during the latter's time in captivity, he teaches Algren the art of sword fighting, coming to respect him as an equal. He is one of the last samurai to die in the final battle, being gunned down during Katsumoto's charge.
Seizo Fukumoto as Silent Samurai, an elderly samurai tasked with monitoring Algren during his time in the village, who calls the samurai "Bob". "Bob" ultimately saves Algren's life (and speaking for the first and only time, "Algren-san!") by taking a bullet meant for him in the final battle.
Billy Connolly as Sergeant Zebulon Gant, an Irish American Civil War veteran who served with and is loyal to Algren, persuading him to come to Japan and working with him to train the Imperial Army. During the first battle, he is killed by Hirotaro (Taka's husband) after being wounded with a spear.
Shun Sugata as Nakao, a tall samurai who wields anaginata and is skilled injujutsu. He assists Algren in rescuing Katsumoto and dies along with the other samurai in the final battle.
Togo Igawa as General Hasegawa, a former Samurai serving in the Imperial Japanese Army. He commits seppuku after the first battle.
The producer's involvement in the film was originally developed in 1992 whenInterscope Communications, a predecessor toRadar Pictures, developed the film, which was originally written by Michael Alan Eddy. Eddy sued the film's producers in 2004 claiming the WGA and Warner Bros. refused to give him credit.[7]
Filming took place in New Zealand, mostly in theTaranaki region,[8] with mostly Japanese cast members and an American production crew. This location was chosen due to the fact thatEgmont/Mount Taranaki resemblesMount Fuji, and also because there is a lot of forest and farmland in the Taranaki region. American Location Manager Charlie Harrington saw the mountain in a travel book and encouraged the producers to send him to Taranaki to scout the locations. This acted as a backdrop for many scenes, as opposed to the built up cities of Japan. Several of the village scenes were shot on theWarner Bros. Studiosbacklot in Burbank, California. Some scenes were shot inKyoto andHimeji, Japan. There were 13 filming locations altogether. Tom Cruise did his ownstunts for the film.
The film is based on an original screenplay entitledThe Last Samurai byJohn Logan. The project itself was inspired by writer and directorVincent Ward. Ward became executive producer on the film – working in development on it for nearly four years and after approaching several directors, includingFrancis Ford Coppola andPeter Weir, until he became interested withEdward Zwick. The film production went ahead with Zwick and was shot in Ward's native New Zealand.
CinematographerJohn Toll invitedGary Capo on the project to serve as second unit director and cinematographer. Capo specifically supervised a lot of the filming of the climactic battle sequence between the Japanese army and the samurai.[9]
The Last Samurai had its world premiere inTokyo on November 20, 2003. The film was released worldwide to theaters on December 5, 2003, by Warner Bros. Pictures.
Critical reception in Japan was generally positive.[12] Tomomi Katsuta of TheMainichi Shinbun thought that the film was "a vast improvement over previous American attempts to portray Japan", noting that director Edward Zwick "had researched Japanese history, cast well-known Japanese actors and consulted dialogue coaches to make sure he didn't confuse the casual and formal categories of Japanese speech." Katsuta still found fault with the film's idealistic, "storybook" portrayal of the samurai, stating: "Our image of samurai is that they were more corrupt." As such, he said, the noble samurai leader Katsumoto "set my teeth on edge."[13]
In the United States, review aggregatorRotten Tomatoes reports that 65% of critics have given the film a positive review based on 216 reviews, with an average score of 6.4/10. The site's consensus states: "With high production values and thrilling battle scenes,The Last Samurai is a satisfying epic."[14] AtMetacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the film received an average score of 55, based on reviews from 43 critics, indicating "mixed or average reviews".[15] Audiences polled byCinemaScore gave the film an average grade of "A" on an A+ to F scale.[16]
Roger Ebert ofChicago Sun-Times gave the film three and a half stars out of four, saying "beautifully designed, intelligently written, acted with conviction, it's an uncommonly thoughtful epic."[17]
The film achieved higher box office receipts in Japan than in the United States.[18] Upon its debut, it collected a total opening weekend gross of $8 million.[19] Overall, it ranked number two at the box office behindFinding Nemo.[20] It became the highest-grossing R-rated film there, surpassingThe Matrix Reloaded.[21] The film grossed $456.8 million against a production budget of $140 million. It grossed $111,127,263 in the United States and Canada, and $345,631,718 in other countries.[22] It was one of themost successful box office hits in Japan,[23] where it grossed¥13.7 billion ($132 million).[24]
Lilly Kilvert, Christopher Burian-Mohr,Jess Gonchor,Kim Sinclair, Tristan Paris Bourne, Martha Johnston, Elizabeth Flaherty, Harry E. Otto and John Berger
Mark Stoeckinger, Michael Kamper, Jon Title, Craig S. Jaeger, Christopher Assells, Dino Dimuro,Alan Rankin, Bruce Tanis,Ben Wilkins, Bob Beher and Frank Smathers
TheSeikanron debate of 1873. Saigō Takamori insisted that Japan should go to war withKorea.
Motoko Rich ofThe New York Times observed that the film has opened up a debate, "particularly among Asian-Americans and Japanese," about whether the film and others like it were "racist, naïve, well-intentioned, accurate – or all of the above."[13]
Todd McCarthy, a film critic for theVariety magazine, wrote: "Clearly enamored of the culture it examines while resolutely remaining an outsider's romanticization of it, yarn is disappointingly content to recycle familiar attitudes about the nobility of ancient cultures, Western despoilment of them, liberal historical guilt, the unrestrainable greed of capitalists and the irreducible primacy of Hollywood movie stars."[82]
According to the history professor Cathy Schultz, "Many samurai fought Meijimodernization not for altruistic reasons but because it challenged their status as the privileged warriorcaste. Meiji reformers proposed the radical idea that all men essentially being equal.... The film also misses the historical reality that many Meiji policy advisors were former samurai, who had voluntarily given up their traditional privileges to follow a course they believed would strengthen Japan."[83]
The fictional character of Katsumoto bears a striking resemblance to the historical figure ofSaigō Takamori, a hero of the Meiji Restoration and the leader of the ineffectiveSatsuma Rebellion, who appears in the histories and legends of modern Japan as a hero against the corruption, extravagance, and unprincipled politics of his contemporaries. "Though he had agreed to become a member of the new government," wrote the translator and historianIvan Morris, "it was clear from his writings and statements that he believed the ideals of the civil war were beingvitiated. He was opposed to the excessively rapid changes in Japanese society and was particularly disturbed by the shabby treatment of the warrior class." Suspicious of the new bureaucracy, he wanted power to remain in the hands of the samurai class and the Emperor, and for those reasons, he had joined the central government. "Edicts like the interdiction against carrying swords and wearing the traditional topknot seemed like a series of gratuitous provocations; and, though Saigō realized that Japan needed an effective standing army to resist pressure from the West, he could not countenance the social implications of the military reforms. For this reason Saigō, although participating in theOkinoerabu government, continued to exercise a powerful appeal among disgruntled ex-samurai inSatsuma and elsewhere." Saigō fought for a moral revolution, not a material one, and he described his revolt as a check on the declining morality of a new, Westernizing materialism.[84]
In 2014, the movie was one of several discussed byKeli Goff inThe Daily Beast in an article onwhite savior narratives in film,[85] a cinematic trope studied in sociology, for whichThe Last Samurai has been analyzed.[86] David Sirota atSalon saw the film as "yet another film presenting the white Union army official as personally embodying the North's Civil War effort to liberate people of color" and criticizing the release poster as "a not-so-subtle message encouraging audiences to (wrongly) perceive the white guy -- and not a Japanese person -- as the last great leader of the ancient Japanese culture."[87]
In a 2022 interview withThe Guardian, Ken Watanabe stated that he didn't think ofThe Last Samurai as a white savior narrative and that it was a turning point for Asian representation in Hollywood. Watanabe also stated, “BeforeThe Last Samurai, there was this stereotype of Asian people with glasses, bucked teeth and a camera, [...] It was stupid, but afterThe Last Samurai came out, Hollywood tried to be more authentic when it came to Asian stories.”[88]
^In the film the United States is portrayed as the primary force behind the push for Westernization, despite mostly European powers influencing this historically.
^The Last Samurai: Original Motion Picture Score (CD liner notes).Hans Zimmer. Warner Sunset Records. 2003.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
^Ivan Morris (1975),The Nobility of Failure: Tragic Heroes in the History of japanese, chapter 9, Saigō Takamori. New York: Farrar, Straus and Giroux.ISBN978-0030108112.
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